中国京剧创作精神研究——以20世纪上半叶京剧创作考察为中心  

The Study on The Creative Spirit of Peking Opera:Investigationg on Peking Opera Creation in The First Half of The 20th Century

作　　者：戴谨忆 DAI Jin-yi(The Central Academy of Drama,Beijing 100000)

机构地区：[1]中央戏剧学院基础教学部,北京100710

出　　处：《艺术百家》2020年第1期101-105,共5页Hundred Schools In Arts

摘　　要：京剧创作,作为20世纪上半叶一股重要的文化力量,曾以积极的姿态参与政权建构。20世纪上半叶的中国京剧创作,表面看来是遵循艺术发展规律的传统舞台样式改良与新创作理念的时代融入,但其深层潜隐和赓续的却是政治功用性极强的文化宣教精神。如果说"演什么"关涉到京剧创作与所处时代娱乐消费的市场规则,那么"为谁演"则直指政权统筹各种社会力量背后的主流文化创作模式,即一种艺术服务于社会意识形态的创作生产机制。这些需引起研究者的关注和思考。As an important cultural force in the first half of the 20th century,Peking Opera creation was once involvedin the movement of regime construction with active attitude.The creation of Chinese Peking Opera in the first half of the 20th century,superficially is a kind of improvement of traditional stage style in the law of art development and the integration of new creation ideas,but its underlying and continuous part is the cultural propaganda spirit with strongpolitical function.If"what to perform"is related to the creation of Peking Opera and the market rules of its own time's entertainment consumption,"for whom to perform"points to the dominant cultural creation mode after the regime has coordinated various social forces,a creative production mechanism of art serving social ideology,which needs toarouse researchers'attention and thinking.

关 键 词：京剧创作 意识形态 主流文化 旧瓶装新酒 宣教 

分 类 号：J80[艺术—戏剧戏曲]